女汉子张慧（周迅饰）从大学时期起就暗恋同学蠢萌宅男龚志强（黄晓明饰），春暖可惜龚志强一直都把她当哥们儿，春暖而且还坚持在事业有成之前保持单身，张慧只好就默默等待着。一次出差，志强邂逅了台湾软妹蓓蓓（隋棠饰），在蓓蓓的撒娇攻势下志强缴械投降，两人瞬间爱的天雷勾地火。张慧得知情况后大受打击，好在闺蜜——号称上海撒娇女王的阮美（谢依霖饰）出手相救，还找来了长江以南最强撒娇天团相助，誓要教张慧训练为撒娇达人，夺回真爱。一场腥风血雨的男神争夺战势在必行，究竟鹿死谁手？本片改编自罗曼夫的畅销情感书籍《会撒娇的女人最好命》。
闫旭
回复 :小时候因为脑膜炎使洋葱头（任贤齐 饰）失去视力及说话的能力，后来他一边在接受治疗一边在医院工作。他一直喜欢长期照顾他的护士秋男（张柏芝 饰），可是当时医院里的胡医生（苏永康 饰）也同时在追求秋男。洋葱头终于在一个晚上向秋男表白，秋男也接受了他的爱意。可是洋葱头在回家的路上被车撞死了，在天堂里的洋葱头祈求天使让他回到人间可以了结他与秋男的感情，可是只有5天的时间。洋葱头以保险调查员的身份接近秋男并大献殷勤，可是秋男还是无法忘记生前的洋葱头，洋葱头感动之余也使秋男逐渐发现了原来他就是洋葱头，而5天后的晚上，正是他们要再次分开的时候……
松本和之
回复 :They do not show war in this film, they show people and their dreams and hopes ruined by the war. It is not just another "war film", but it rises to the level of a true Tragedy. Not a propagandist or a sob story. Many critics compare this film to another famous Russian war drama, The Cranes Are Flying. I still think that The House I Live in is better, though, if you've seen The Cranes and liked it, most probably you'll love this one either. Both films were shot in 1957 and treat the war theme from the similar humane perspective. I wouldn't cut a single shot from the film, all of them are just in place. I do not know if it can be found outside Russia, if yes, don't miss it.Many critics pointed out resemblances between Dom, V Kotorom Ya Zhivu (The House I Live In) and the better-known Soviet film The Cranes are Flying. Set in the years prior to and during WWII, the story centers on the various residents of a co-op house. Though the directors never show the war itself, its tragic impact is felt throughout the film. And despite the potential for Soviet propaganda, what sticks in the mind is the universality of the experiences endured by the leading characters. Dom, V Kotorom Ya Zhivu was one of Russian's entries in the 1958 Brussels Film Festival.
回复 :What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
